Many nations look for inspiration in their past. Ukraine draws from the Cossack tradition, France from Gauls, China from ancient civilization. Egypt has always relied on its ancient heritage. On November 1, 2025, the Grand Egyptian Museum was officially opened—the world’s largest archaeological museum dedicated to a single civilization.
The event saw delegations from nearly 80 countries and numerous heads of state. Billions of dollars, twenty years of construction, laser shows, drones, pharaonic costumes—all underscored the magnitude of the occasion. In a country where over 70 million people rely on subsidized bread and inflation hits 38%, the project became a key part of the emerging ideology called neo-pharaonism.
Unlike routine political use of history, neo-pharaonism aims to elevate ancient Egyptian identity above Arab or Islamic connections. This is reinforced by state ceremonies, symbols, and projects: from the parade of 22 pharaohs’ mummies to museums and the new capital’s architecture with Ankh and pyramid symbolism.
President Abdel Fattah el-Sisi, who came to power after a military coup in 2013, uses neo-pharaonism to legitimize his authority. The authoritarian regime strengthens itself via media control, grand infrastructure projects, and the culture of ancient Egypt. Beneath the surface, the economic situation remains tense: state debt stands at 101% of GDP, and servicing debt consumes most of the budget.
Neo-pharaonism as state policy enables competition with radical Islamism and crafts a unified narrative for modern Egyptian society. Symbolic actions—like the mummy parade and museum opening—paint a picture of the modern "divine" leader. It is also used in foreign policy and to boost tourism, a vital source of state revenue.
In Egypt, neo-pharaonism is a tool of authority for shaping national identity and enhancing the state's prestige amid socio-economic challenges. The Grand Egyptian Museum stands both as a triumph of heritage preservation and as a symbol of the political agenda of today’s leadership.
